page_title: La Maison Cubiste
section_title: Legacy
hierarchical_section_title: La Maison Cubiste / Legacy
caption_attribution_description: English: La Maison Cubiste, Le Salon Bourgeois, Salon d'Automne, 1912, Paris. Jean Metzinger's Femme à l'Éventail, 1912, can be seen on the left wall; reflected in the mirror, Fernand Léger's Le passage à niveau (The Level Crossing), 1912. Towards the center-left is a portrait of a woman by Marie Laurencin
context_page_description: La Maison Cubiste, also called Projet d'hôtel, was an architectural installation in the Art Décoratif section of the 1912 Paris Salon d'Automne which presented a Cubist vision of architecture and design. Critics and collectors present at the exhibition were confronted for the first time with the prospect of a Cubist architecture.
  The facade was designed by the sculptor Raymond Duchamp-Villon. The interior design of the house was conceived by the painter and designer André Mare, in collaboration with Cubist artists from the Section d'Or group.
context_section_description: It was an early example of art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Cubism was recognized as significant to a broad range of applications, beyond the bounds of fine art. The movement opened the way toward new possibilities, a modern geometrical vision that could be adapted to architecture, interior design, graphic arts, fashion and industrial design; the basis of Art Deco.
  Mare called the living room in which Cubist paintings were hung the Salon Bourgeois. Léger described this name as 'perfect'. In a letter to Mare prior to the exhibition Léger writes: "Your idea is absolutely splendid for us, really splendid. People will see Cubism in its domestic setting, which is very important."
  The facade of the house (Façade architecturale), designed by Raymond Duchamp-Villon, was not very radical by modern standards; the lintels and pediments had prismatic shapes, but otherwise the facade resembled an ordinary house of the period. The rooms were furnished in a bourgeois, colorful, and rather traditional manner, particularly compared with the paintings.  The critic Emile Sedeyn described Mare's work in the magazine Art et Décoration:  "He does not embarrass himself with simplicity, for he multiplies flowers wherever they can be put. The effect he seeks is obviously one of picturesqueness and gaiety.  He achieves it." The Cubist element was provided by the paintings.  Despite its tameness, the installation was attacked by some critics as extremely radical, which helped make for its success.  This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston.
caption: Le Salon Bourgeois, designed by André Mare inside La Maison Cubiste, in the decorative arts section of the Salon d'Automne, 1912, Paris. Metzinger's Femme à l'Éventail on the left wall
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